With a formidable roster boasting Pep Love, Casual, and Domino as well as the aforementioned Souls and Del, there are few groups that can match both the body of work and talent of the mighty Hieroglyphics gang. Returning with their second LP, the Oakland posse’s follow-up to 1998′s acclaimed Third Eye Vision is exactly what we’ve come to expect from the collective: dope beats, complex linguistics, and exceptional chemistry. While the title Full Circle implies a return to form of sorts, artistically Hiero has never really deviated from the formula that allowed them to achieve such longevity in a here-today-gone-tomorrow business. As always, production is handled in-house by Domino, Opio, A-Plus, and Casual (with the exception of “Jingle Jangle” by Soul Unit) and they again manage to capture a sunny west coast essence while staying rooted in traditional boom-bap – a nice alternative to the dark gloom dominating underground Hip-Hop lately. There’s plenty of variation in the beats too, from mesmerizing mellowness (“Classic”, “Halo”) to straight-up heat  (“7 Sixes”, “Heatish”, “Love Flowin”) to weird even (“One Hundred Thousand Indi”). Subject matter is also diverse (“Make Your Move”, “Maggie May”, “Chicago”), although Hiero’s principal attraction was never in the number of concepts they flipped, but rather in hearing them flow their asses off. That they “Love Flowin’” comes across abundantly clear in their deliveries – and why not when you and your friends own a successful business allowing you to make the music you want to? Check out “7 Sixes,” an absolutely blazing track based on the simplest of ideas – six lines from each of the seven Hiero emcees over a hype Domino beat. If a single track ever exemplified what these Oaklanders have to offer, this would be it.

     Full Circle isn’t without its flaws however. While it is another fine addition to the Hieroglyphics’ catalogue of quality releases, some of the hooks could’ve used reworking (Hiero newcomer Goapele’ blesses “Make Your Move” and the title track with her soulful singing; more from her would’ve been nice). And though there aren’t any weak cuts, there also aren’t any on par with Third Eye Vision classics like “Oakland Blackouts” or “At The Helm” either. That aside, Full Circle still stands out as one of 2003′s stronger releases and is a must for Hiero-philes (Pep lovers should note his inspired performance). You’d better get used to that three-eyed not-so-smiley face – it looks like these guys may very well be here ‘til infinity.

Fronted by the of late omnipresent MF Doom AKA King Ghidra, the nine man M.I.C. (Monsta Island Czars) unit combines the multiple personalities and obscure references of Wu-Tang with the hardcore street feel of Boot Camp – which isn’t to say that the M.I.C. crew sounds at all similar to either group. With each monster sporting his own unique flow – from Rodan’s rapid-fire delivery to Megalon’s multi-syllables to Ghidra’s crooning to Spiga’s ultra-deep voice – the Czars make for one of the most diverse teams in all of rap, sounding unlike each other let alone anybody else. Tying up that wide variety of styles is X-Ray, who laces most of the album’s beats, possibly to the dismay of those hoping for more Ghidra production (he handles a handful of tracks). Fortunately, X-Ray’s stripped down boom-bap offerings stand up well on their own (most notably “F@#k Y’all N!@@#s”, “Under Pressure”, and “Gunz ‘n’ Swordz”).

Ghidra still makes an impact on Escape despite his limited role, contributing to several of the album’s standout songs. Hitting the boards more than he does the microphone, his beat highlights include “Make It Squash! (Got a ROC)”, “1 2 1 2″, “Escape From Monster Isle”, and a peculiar co-production with Da Mindbender (“Comin’ At You”) that wouldn’t sound out of place blasting somewhere on Crenshaw. Especially nice is “MIC Line” with its frantic loop and on-point wack emcee bashing: “Start too many songs with ‘Uh / oh uh’ / Yeah I hear ya soldier / I told ya / like no duh.” With Ghidra touching the mic only once, the album’s spotlight falls upon the other members of the Czars and they don’t waste the opportunity to shine, showing excellent chemistry in ripping their verses (Megalon, Rodan, Kamackeris, and Kong are given the most time and use it well however everyone comes off nicely). While the numerous posse-cuts do get a bit redundant, the diversity of styles and never-ending parade of arcane allusions (Jake La Motta, Rebecca Lobo, their own monster aliases, etc.) are interesting enough to keep things from ever getting boring.

Although a few more solo tracks and an appearance from Jet Jaguar (his absence is understandable) would have been nice, Escape From Monsta Island can still be considered an emphatic success. While they may not have entered the stage the same way the Wu and Black Moon did, the Czars show signs of possessing the same intangible qualities that made those groups so revered; more than just skill, it’s a personality and uniqueness that can’t be duplicated. To hear the escape was fun enough; the attack will be something to really look forward to.

Boasting a Hip-Hop history that can be traced as far back as the late-seventies, it’s puzzling that Chicago has struggled to establish its own definitive rap identity. The early-nineties mainstream success of Twista, Common, and Da Brat seemed like it would open the floodgates for other Chi-Town artists, but instead it was acts from Atlanta, New Orleans, Philadelphia, Detroit, and even St. Louis that joined their California and New York counterparts in ruling the airwaves. At the very least, The Chicago Project provides the rest of the world with an effective wake-up call.

More than just a makeshift alarm clock though, the sixteen song compilation packs a real wallop for those not knowing what to expect from the city. Despite being a bit battle-rhyme heavy, there is still enough variety on the album to keep it from becoming boring and the energy exuded by the up-and-coming artists is highly infectious. It’s hard not to hear the hunger in the voices of Earatik Statik and Submission on “Still Got It Locked” or Babble on “Transportation”, which isn’t even to mention the hyped beats provided by The Opus and Chester Copperpot of The Insomnitracks, respectively. Standout concept joints include Offwhyte’s drug-themed “Rappers & Chemicals”, Lord360′s macabre “Burial Sequence”, and Thawfor’s tale of everyday struggle, “False Idols”. J.U.I.C.E. and Capital D, the biggest names on the album, represent lovely with the former-Scribble Jam champion performing a multi-syllable clinic on “Raise It Up” and the All Natural front-man getting cathartic on the appropriately-titled “Vent”. With so much topical diversity, the album’s only real constant is its beats, which are bolstered by multiple contributions from The OPUS and nice single offerings from The Vinyl Addicts’ Meanwhile, and the aforementioned Chester Copperpot.

It seems the time for Chicago Hip-Hop is now. With the industry in a state of transition, apparently moving away from the materialism of the late-nineties to focus more on skills and “consciousness,” new acts will have to be discovered and broken. Illinois already has one superstar waiting in the wings in Roc-A-Fella’s Kanye West, it may only be a matter of time before names like Twista, NO I.D., and The Molemen hit it big as well. The birth of Gravel Records couldn’t have come at a better time for the city; the talent is obviously already there, now we finally have a chance to hear it.

Joining the ever-growing wave of lost album releases is likely the least anticipated of the lot, Dooley O’s Watch My Moves 1990. While collectors salivate at the mere mention of Clear Blue Skies or The Best Part, the best response the Connecticut native’s lost product might get are a raised eyebrow or a phony “Yeah, I think I’ve heard of him.” Hoping to change that, Solid isn’t banking on what is essentially a thirteen-year-old demo to win heads over; it’s the history behind it that’s the real selling point.

Though it will intrigue diggers and historians most, Dooley-O’s story should still be of interest to casual fans once they realize classics like “Passin’ Me By” and “Funky Child” (and countless others) can be traced back through Stezo’s “It’s My Turn” to the years-absent-but-now-available “Watch My Moves.” The tale, like the songs mentioned, revolves around the “It’s A New Day” drum sample, originally discovered by Dooley and Chris Lowe in a neighbor’s basement. Their plans to use the break were thwarted by Dooley’s cousin Stezo, who literally stole the record for his own use (“It’s My Turn”) without giving proper credit. After falling out with both Lowe and Stezo (they reconciled later) and signing a bad deal with Tav Dash Records, it seemed Dooley would be eternally condemned to the status of “local legend;” thirteen years later, the beginnings of what might have been a classic finally sees the light of day.

History aside, how does Watch My Moves 1990 actually sound? While the vocals are unpolished and subject matter varies (“Slaughter Session” and “Neighborhood Tramp” stand out for sheer tastelessness), the entire package comes off more raw than second-rate. Filled with recognizable breaks, it’s obvious that Dooley had a great ear; where that might have placed his album among the likes of Fear of a Black Planet, People’s Instinctive Travels, and the rest of ’90′s finest will forever be up for debate (although it’s not hard to imagine that a finished version would have compared favorably). In truth, the release of Watch My Moves 1990 is mainly meant to satisfy the curiosity of the few heads who have even heard of it; that it remains listenable to this day is a bonus and testament to the New Haven B-Boy’s skills. Poised for a comeback in 2003, there may be chance yet to watch Dooley-O make moves – this time, we won’t miss.

Now there’s a visual for you: Cannibalistic Humanoid Underground Dwellers with buds in their ears, eyes glowing red from weed smoke, heads nodding to some grimy East Coast shit. Whether or not your imagination inserts DJ-JS1′s Ground Original into their portables is irrelevant; I only brought up C.H.U.D. for use as a segue anyway. Cheap tricks aside, Yosumi’s latest compilation does indeed boast a line-up of the underground’s biggest monsters – and a few Hip-Hop legends, to boot.

Involving himself in every aspect of what is his debut full-length, JS1 not only kills it on the 1′s and 2′s, but also teams up with The Controllers’ Dub-L (Music For Earthworms) in producing the bulk of Ground Original’s tracks. Unfortunately, bulk doesn’t mean all, as Domingo, Shan Boogs, Ric Rude, Prince Poetry, and Kno kick in their own beats, a bad thing only because their contributions break up the dark atmosphere established by JS1 and Dub-L, resulting in a bit of unevenness. However, where Ground Original falters in consistency, it makes up for in straight bangers.

Suiting the collaborative nature of the project, content is mainly battle and punchline oriented – you’ll certainly feel like your ears got boxed after lines like “You pussies haven’t been fresh since your last pap smear.” Highlights on the braggadocio tip include Evidence, Pep Love, and React joining the C.H.U.D. and gynecology referencing C Rayz on the eerie “Nowadayz”; Boston’s Akrobatik getting open on the hyped “Ak Like U Want It”; L.I.F.E. Long and Immortal Technique’s salute to JS1 on the majestic “Audio Technician”; and the always deadly combination of Dice Raw and Rahzel on the appropriately-titled “Spontaneous Combustion Freestyle”. Of the few non-battle tracks, top honors go to Masta Ace’s simply-dope concept joint “What Am I? Pt. 1″ (“I’m not shooting hoops with niggas / I’m not friendly / It’s too bad because I do have a little ball in me”). For a lot of heads though, the best part of the album will be hearing the return to form of veterans OC, Prince Po, Percee-P, Skoob (Das EFX), and Special Ed (even X-Clan overseer Professor X makes an appearance). OC sounds especially nice over the beautiful piano notes of “Beyond”; also noteworthy is Percee-P’s blazing verse on “Unstoppable”.

It’s ironic that Ground Original’s primary weakness is a lack of cohesion considering JS1 emphatically states that it’s a compilation and not a mixtape. Regardless of how the songs are sequenced though, it’s still a fine collection of dope lyrics, beats, and scratches, which is really all you could ask for in any Hip-Hop album. For best listening, play it on random setting; it’ll be good neck exercise as you wait for JS1 to bring you to the next level.

Obviously following up the first two editions, Vol. 3 is yet another collection of familiar Doom beats quaintly named after, you guessed it, herbs (it’s a comic book thing). Anyone wondering if a market even exists for this sort of album should take a look at the Supervillain’s small, but rabid fan base – people are simply drawn to Doom. His metal mask and history with KMD and use of comic book cover art make him a unique and engaging character, but the root cause of MF Doom’s popularity lies in the intangible qualities inherent in his music. Call it soul, funk, boom-bap, or whatever, Doom’s music is filled to the brim with spontaneity and life, technical aspects be damned. You never know what to expect from a Supervillain track, but it’s almost a guarantee that you’ll smile and have fun while listening. Try to resist rocking out to the nostalgic sounds of “Elder Blossoms” or nodding along with the dramatic “Calamus” or guessing what the spooky “Styrax Gum” has to offer next. It’s hard. The “cupboards” of Big Jim, Mister Fantastic, and the late DJ Sub-Roc are raided for extra flavor, adding more seasoning to Doom’s already tasty creations.

Special Herbs isn’t for everyone though. Some will outright hate the seeming disorder of MF’s beats, finding them repetitive while being turned off by the haphazard characteristics Supervillain fans love so much. But, love him or hate him, in a Hip-Hop world preoccupied with scowls and gunshot wounds, Metal Fingers’ quest to merely make enjoyable music is, more than anything else, refreshing. He’s super.

I Wish My Brother George Was Here. No Need For Alarm. 3rd Eye Vision. Both Sides of the Brain. Deltron 3030. Gorillaz. Not to mention penning half of Ice Cube’s early solo classics, if that catalogue of classics and near-classics isn’t enough to make a G.O.A.T. case for Del The Funky Homosapien, adding Future Development to the list should force doubting Thomas’s to reconsider. Finally released on CD after a seven-year wait (it was issued on vinyl last year and before that was available on cassette through the Hieroglyphics’ web-site), the story behind the delay centers around Del’s refusal to adhere to Elektra’s “recommendations” concerning content; the label, unsatisfied with this unwillingness to compromise, dropped the funkee one and shelved his album (see: rule #4080). Moving away from the past and into the future, Del’s lost product isn’t just another reminder of how clueless record execs are – it’s also his best work.

Opinion is generally split when it comes to Del’s creative peak (some love the playfulness of I Wish… while others prefer the more aggressive No Need For Alarm), but Future Development puts that debate to an end by successfully melding the best elements of each of his first two albums. Funny, sad, profound (sometimes all at the same time), Del’s performance on the mic is basically flawless although what really pushes this effort ahead of its predecessors is the maturity exuded by Hiero’s leader. While he was never immature per se, the ideas presented on Future Development make some of his past concepts (think “Dark Skinned Girls” and “Boo Boo Heads”) seem almost asinine in comparison. Playing the role of sage throughout the album, Del preaches without sounding preachy; he’s not telling people what to think, but rather to think.

Maturity and growth aside, the music itself is impeccable. The opener, “Lyric Licking”, is really the only track dedicated to showing off The Funky Homosapien’s skills (which he does); that it’s placed where it is almost seems like his way of saying “I can still rip a mic, but I’ve got other things to talk about too.” Those other things range from trying to pick up girls at the mall (“Why You Wanna Get Funky….”) and true friends (“Games Begin”) to Hip-Hop (“Don’t Forget The Bass”) and even slavery (“Del’s Nightmare”). Relatable to thugs, nerds, and backpackers alike, Del’s words paint portraits as vivid as Illmatic (which is saying an awful lot): “Po-po said they got there on time / they lied / but you’ve got to give ‘em credit / they tried / I see a mother cry and I’m wondering why / and my man said ‘Fuck it, there ain’t nothing we can do but continue our mission down the block for the brew.’” Del plays Dear Abby on the album’s lyrical standout (“Love Is Worth”), flipping two completely on point tales about unrequited love: “She said she likes you as a friend / not a lover or wife / so get a life / let her live hers and find another.” 

Production duties are split between Del and A-Plus (with Opio and Toure’ kicking in a track each) and they’ve definitely cooked up some marvelous beats to get mouths watering. Mostly laid back with a touch of Hieroglyphics’ jazz thrown in here and there, Future Development is the perfect album to relax to. The simple horn loop on “Corner Story” qualifies as one of the most addictive ever and the smoothed out sounds of “Stress The World”, “Games Begin”, and “Town To Town” don’t lag far behind in catchiness either. The album’s only sonic departures are found on the title track and “Del’s Nightmare”, which both feature dark, panicky loops befitting their respective themes.

So, seven years late, was Future Development worth the wait? Absolutely (tape owners note the CD and vinyl-only bonus track “Checkin Out The Rivalry”). Whether or not it changes anybody’s mind about Del’s place among Hip-Hop’s all-time elite is really irrelevant – just bump it and be glad he stuck to his guns. Of course, one will always wonder what a Funky Homosapien-Keith Sweat collaboration might have sounded like, but that’s team-up probably best left to the imagination.

What makes Pep Love seem so frank on the mic is his artfully effortless flow – He raps as if he’s having a conversation with a close friend; the only difference being that everything he says just happens to rhyme and fall into perfect rhythm. Ascension’s main flaw was in beats that didn’t fully complement this smooth style, making it sound almost repetitive at times. Fortunately, the production on Side C boasts a bit more experimentation and soul than the first album while still obviously maintaining a similar vibe. Standing out especially are “Warrior Poets” and “The Gaspers”, both produced by Mako (Of Oldominion) and both sounding like they’ve been inspired by some late night horror flick. The former uses an eerie string and piano arrangement to get across its spookiness; the latter features a brooding beat accentuated by ghostly howling. On a completely different note are Casual’s beat contributions, “Fallen” and “The Birds and the Bees”, which successfully capture the jazzy feel Hiero was known for in ’93 without sounding like retreads.

So if the beats are generally as good or better than those on Ascension, it must be the rhymes that aren’t up to par, right? If that’s the case, all emcees should hope for “throwaway” rhymes as nice as this: “We lose heart for the money and the fame / Modern day Buckwheats / Over butt beats / Never even reach to touch the peaks.” Like the production however, the album’s vocal and lyrical highlights result when Pep branches off from the norm (battle and motivational rhymes) and into different subject matter. In this case, different comes in the form of songs about lucid dreaming and out of body experiences, two topics not usually discussed at all, let alone on a Hip-Hop album. That the themes are presented in such striking detail is remarkable (“You wonder why you even want to fly / and then you might gather the gumption to try / in my field of dreams”). “The Gaspers” (about out of body experiences) is particularly memorable, as it appears to stem from personal experience: “I see myself outside of myself, I want to scream!” Sticking out for its sheer candor is “The Birds and the Bees”, where Pep melds childhood reminiscing with a jam dedicated to the ladies (a la Ghostface Killah’s “Child’s Play”). Check out some “natural” game: “In her summer dress / No bra to cover the breast / Nipples stand erect and I stand corrected.”

Needless to say, if you enjoyed Ascension, you’ll enjoy Side C. At a slim eleven tracks (no skits or interludes either), it’s not only a pleasant supplement to the original, but a fine album on its own that should please both long-time and new fans alike. A few misplaced hooks are of little consequence to the simple message successfully communicated: Even with old material, Pep Love rises to the top.

Though he first made noise in the late-nineties with Natural Resource’s Makin imprint, A Beautiful Mind can be considered, for all intents and purposes, Pumpkinhead’s debut. A relatively unknown entity despite appearances and affiliations with Skeme Team and Brooklyn Academy, Pump even begins the EP by mentioning that it’s “been a minute” since he last dropped a joint – too long if this release is an indication of things to come. Showing off that aforementioned versatility, Pump moves from no holds barred reflection ["The Beginning (One Verse)"] to easygoing comedy ["Supahstar (The Anti-Bouncer Theme)"] to a dedication to the ex-girls (“Mujer Triste”) to straight up battle raps ["Pumpin (Pause!!!)"] without missing a beat. That he is able to make use of different subject matter isn’t really that impressive; that he does so effectively without sounding forced or awkward is. Pump’s smooth, yet rugged voice and flow will please casual listeners, while more scrutinizing ears will enjoy his diverse and heartfelt lyrics. Check out this disturbingly conflicted gem from “The Beginning”: “She tells me to grab her throat up and choke her / and I really choke her ’til she throws up on the sofa / ’cause I had flashbacks of hoes that made my self esteem lower.” Will Tell laces the cut with an awesome guitar loop, the best beat on an EP full of good ones. The production always fits the mood Pumpkinhead is trying to convey, which helps bring the most out of his concepts (Masterminds Kimani’s bouncy “Supahstar” captures the club vibe of that track, Evin Price’s “Mujer Triste” is appropriately sullen, etc.).

Doing exactly what an EP release should, A Beautiful Mind has all of its bases covered. Highlight the talents of the artist? Check. Whet appetites for future projects? Check. Remain a solid piece of work on its own? Check. Do all of the above in an inexpensive package? Check. After all that, the only question left remaining is: When’s the LP coming out?